ep1str0phy

FMP (from my perspective ) , lack of interaction characterises too much of Roach's work. Max is an amazing drummer but "iffy" partner. Perhaps, although I found some interesting pieces of dialogue with close listening... I did notice that it takes an immense amount of prodding to break Max out of a certain groove (even here)--he doesn't "follow" the sax like, say, Rashied Ali does on Interstellar Space. Regardless, I think the two play emphatically enough to prevent this one from sounding like a "staid"/cold duo album.

I just got a copy of Max Roach/Anthony Braxton: Birth and Rebirth. It's just stunning. I'd never before heard this duo in action, but I've always been a fan of both... the fascinating thing is that neither sacrifices his personal idiosyncrasies--there's no real compromise. Braxton is as ferocious as ever, and Roach swings with his inimitable fury. There are moments of power, promise, rage, and tenderness--all consummately performed. I have some gripes with the sound (CD)--Braxton sounds a little metallic at times, and Roach is occasionally distant. But the music is just beautiful, top drawer as far as sax/drum duos go.

Billy Harper: Somalia Lester Bowie: American Gumbo (Fast Last!/Rope-A-Dope) Chico Freeman: Still Sensitive Denis Charles IVtet: Captain of the Deep Max Roach feat. Anthony Braxton: Birth and Rebirth

That's about as cheap as it gets for new copies. Used copies usually run between $9.99 and $11.99--I guess they haven't inflated yet. Most shops think they're out of print, though.

I've got another one (maybe brought up before, but I'm too de-energized to sift through the thread): Sirone

Word.

*sigh* Another doomed illegitimate release, then. Regardless, I'm steering clear of buying any boots... which isn't to say that the music isn't worthwhile. One of these days, I guess.

1969? Whoa--hold the phone. I've heard some of these sessions, and the playing is excellent... but have these concerts finally received some decent mastering?

Amoeba stole Aron's used album flow. First went to Aron's a couple of years ago, after Amoeba had opened--practically nothing, although they have a fine "new" section. I almost hesitate to say this--because it's been my trove since high school--but there's a fine little joint called CD Trader somewhere down Ventura Blvd. (in the SF Valley). Cheap prices, obscure selection. Just don't steal my OOPs. Please.

Eh, they'll also be at Yoshi's. I'll probably go check them out, although at this point I'm almost running on nostalgia. Haven't been truly "invigorated" by a lot of Haden's recent work, although I'll always be a fan of his playing. Nice to see a new LMO, even if some of the old stalwarts are missing.

Damn, I already have Smokestack. Oh well, guess other folks get a chance to hear it (although I do think that it's one of Hill's weaker sessions, if you could even call a Hill BN "weak"). And Workout--long time comin'. Still, I hope that the RVGs dig a little deeper into the late-60's next time. A lot of that stuff is prime material--and unavailable for some time. I still want a decent (cheap) master of Total Eclipse.

If you see him, you have crossed over to the other side. Ha! All due respect, of course. Great read.

I have no idea about the initial reception, but I have listened to the album a number of times. It's easily one of the more "accessible" Taylor dates of recent years--if CT is accessible at all. I think it has something to do with the brevity of the tracks, because the playing (itself) is as dense as ever. I don't particularly think that the short format does Taylor too much good--he's always at his best when he gets a chance to stretch out--but it's certainly nice to hear him in this context (which is about as easy as it gets past the Candid sides). On another note--if this album was meant to be a commercial breakthough, then it really didn't do a very good job. I'd say that the RVG of "Conquistador" did more to endear him to the (adventurous) public.

From my experience, most people react to Braxton's "song titles" in the same manner. The real issue (for me, anyway) is that there is most certainly an underlying meaning to his symbols/numbers/etc.--so there's no real question of "depth" or "effort" on Braxton's part. Either he's pure jive or fairly unfathomable--I, for one, enjoy his intellectual rigor. That semblance of meaning is enough to provoke a reaction from this listener. But if Braxton's symobls aren't quite as meaningful to me, do they matter at all? If I dig Braxton now, wouldn't I probably enjoy him regardless? I, too, take joy in the whole song title thing--it's an art unto itself, a remarkably simple means of invoking deep concepts. As far as true "relevance" to the music (itself), however, I'm often left wondering. A lot of late period Coltrane, for example (what we have on record), was named posthumously. Ornette has been known to rename his compositions constantly. Red Planet and Miles' Mode are (basically) the same tune--does the title matter at all? To get back to the central topic--anyone going to get the LPs?

What about Braxton, whose compositions are characteristically well-formed but whose titles are almost uniformly incomprehensible (to the layperson)?

I have that MJT album... nothing mind-blowing, but effective for what it is. Always nice to hear some quality hard bop--some interesting harmonic things going on here and there.

Bump to say I just got Snurdy McGurdy. Beautiful, uplifting stuff... been kinda bummed out lately, and this one picked me right up. Props to RM, Mr. Nessa, and all involved.

Just found out about this--much respect and love.

Yes, but this really begs the question -- can someone who was originally a "60's hardbop trumpeter" transition into a "genuine progressive"? If not, why not?? I may be misunderstanding your post, but it seems like you are suggesting that being truly progressive almost requires one to be insulated from the mainstream and the journeymen. Isn't the opposite true -- can anything new and innovative arise from someone that is not fully cognizant of the past? I guess what I'm trying to say is that I agree that trying to categorize musicians (or any artist, for that matter) is difficult and error prone. But back to Rooster’s original post – what is it about the records on this thread that make them so attractive to many of us? I think that many of these dates are excellent examples of “forward-thinking” musicians being either pushed or pulled (or both!), into creating some very new and exciting music. ← It's semantics. Although I don't think that the definition (previously) set forth precludes the qualities that you put forward--a guy like "Hubbard" may not be as stridently "progressive" as Ornette, but he did play on a few seminal avant sessions--I sympathize with your concerns. This dilemma illustrates the central point: we're dealing with a term ("progressive") that is woefully inadequate. It's all canon, practicality, and convention--none of which I'm particularly fond of, but all of which I (we?) have to cope with. Music's music, though. On Rooster's points... it's just fun watching people stretch. Not just "inside" cats, though--I mean, it's always fascinating to hear individuals step out of comfort zones. Confusion, unease, frustration, strain, resolve, bravery in the face of danger. In a way, it's psychodrama. Unusual situations take us back to our most primal instincts, the deep, dark, blue center of creativity--true improvisation. Yeah, I'm lapsing into superlative, but seriously--and I'm sure some of the other musicians can testify to this--in discomfiting circumstances, there's something in the back of your skull that's just primally unsettled, invigorated. It makes for some beautiful sounds.

Good God. That's pretty heavy.

Ah yes, the track screw up. After throwing in the cash, I was pretty confused. About Effi--pray tell?

Didn't this come up somewhere else? Anyway, I think he fits with the album--pulls things a little "in" (which may have been Hill's intention with the date). Frankly, I think Hill works best with less idiomatic players, or at least those who can play on different levels. Riley's alright here, and I'm a fan of his work with Horace Tapscott and much of the Monk material.

No doubt. Especially the MPSs.

Christ--exactly. Innovators, progressives, revolutionaries, the avant-garde... a mud-pit of poorly defined parameters. One might call Kenny G an innovator, but that's a whole other bag... Anyway... Shake Keane? Wasn't always so far out as on those Harriott dates, was he?

Oy. Yet ANOTHER Hutcherson album I guess I'll have to get. I've got some catching up to do with Bobby. ← Good luck finding it. I had to pay something pretty (and that's a lot for a young cat). Worth it, though (it's basically the Medina/Spiral band w/J. Spaulding in place of Harold Land).